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Graduate Recital Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1977 Graduate Recital Donna Gatlin Davis Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Education Commons, and the Music Commons Recommended Citation Davis, Donna Gatlin, "Graduate Recital" (1977). All Graduate Plan B and other Reports. 1138. https://digitalcommons.usu.edu/gradreports/1138 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRADUATE RECITAL by Donna Gatlin Davis Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OF EDUCATION in Secondary Education with an emphasis in Music Plan B Approved: UTAH STATE UNIVERSITY Logan, Utah 1977 ii TABLE OF CONTENTS PROGRAM ••. iii PROGRAM NOTES . iv LIST OF FIGURES . vii INTRODUCTION 1 LIFE OF FINZI 3 MUSIC OF FINZI 7 LIFE OF HARDY . 11 THE POETRY OF HARDY . 15 THE MUSIC OF GERALD FINZI USING THE POETRY OF HARDY . 17 ANALYSIS OF POETRY TEXTS AND MUSIC OF I SAID TO LOVE 20 "I Need Not Go" • 21 "At Middle - Field Gate in February" 28 "Two Lips" 34 "In five-score Sununers" 38 "For Life I had never cared greatly" 42 ''I Said to Love" 44 CONCLUSION 49 BIBLIOGRAPHY 50 iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC DONNA DAVIS, CONTRALTO Graduate Recital Betty Hammond, Accompanist Er barme dich ••••••••• • • • · . Bach from "St. Matthew Passion" David Daines, Solo Violin Mary Beddingfield, Viola Kirk Beecher, Violin Richard Hughey, Cello Ruth Ann Butler, Violin Betty Hammond, HaPpsichord If My Complaints Could Passions Move Dowland When To Her Lute Corinna Sings Campion Rest Sweet Nymphs •••• •.••••• • Pilkington Mike Christiansen, Guitar Che faro senza Euridice •• • ••Gluck from "Orfeo" Re dell' abisso, affrettati .Verdi from "Un Ballo in Maschera" Betty Hamnond, Piano Beau soir •• Debussy Extase . • Duparc Apres un reve •• Debussy Betty Hamnond, Piano I Said to Love • • • . • . • • Finzi I need not go At Middle-Field Gate in February Two Lips In five-score Sununers (Meditation) For Life I had never cared greatly I said to Love Chase Fine Arts Center Theatre Monday Evening May Seventeenth Eight O'Clock iv PROGRAM NOTES I Er barme dich . J. S. Bach from "St. Matthew Passion" 1685-1750 This aria, sung by the Daughter of Zion, is a prayer which reflects extreme anguish at the death of Christ. Bach includes "weeping and sighing" figures in the vocal and violin solos and var­ ious tone paintings of grief in the accompanying strings. Have mercy, oh Lord, on me. Regard my bitter weeping. Look on me. Heart and eyes both weep to Thee bitterly. II "If My Complaints Could Passions Move" . John Dowland 1562-1626 "When To Her Lute Corinna Sings" .Thomas Campion "Rest Sweet Nymphs" .Francis Pilkington These selections are among the first published English solo songs which appeared in Dowland's First Book of Songs or Ayres (1597), Rosseter's Book of Ayres (1601), and Pilkington's First Book of Songs (1605). The English ayre, which usually featured lute accompaniment, was the counterpart of solo vocal forms blossoming in other countries such as the solo lied of Germany. III Che faro senza Euridice . • .•.• Christoph von Gluck Recitative and Aria from "Orfeo" 1714-1787 Alas! why has thou left me, left me to suffer in madness of love? Loved one! Euridice! Euridice! My own one! She lives no longer, I call her in vain. Oh, what misery to lose her again and forever! Oh judgment, oh sad death, cruel recollection! I have no helper, naught gives me consolation, Naught can I image, (Oh, fearful vision!), Naught but the dark gloomy aspect, The horrors of my being! Now fate may wreak her vengeance, I am despairing. Live without my dear Euridice! Can I live without my love? In my woe, where can I go? Whither wander with no love? Euridice! Oh, Heaven! Now tell me, I am forever thy true lover. Through darkness groping, no help given, Nothing hoping from earth or heaven. V In the final act of "Orpheus," Gluck's adaptation of the Greek legend, Orpheus has descended into the under world with the permission of Amore (God of Love) to restore Euridice to the land of the living. Having broken a vow not to look at Euridice until their return to earth, Orpheus laments her second death with great pathos in "Che faro senza Euridice?" Re dell' abisso affrettati . Giuseppe Verdi Invocation aria 1813-1901 (Un Balla in Maschera) King of the Shades King of the shades, I summon thee-­ Cleave through the earth's dark center, Veiling thy dazzling majesty, this my dwelling to enter! Thrice hath the evil loud-screeching voice resounded from yonder caves; Leaping, the salamander thrice hath hissed through fiery waves, And thrice a moan that chilled like ice hath sighed from new dug graves! Thrice, too, a moan that chilled like ice hath sighed from new dug graves! 'Tis he! 'tis he! my heart apace beats with fierce glowing pleasure As of his dread yet loved embrace I feel the mighty pressure! A torch the future lighting, he bears in his left hand, Naught now, no naught now can befall but by my vision scanned. Now silence! Now silence! The black astrologer, Ulrica, sings "King of the Shades" as she brews �ic in her witch's hut. Shen then for,...tells the Governor's death, and the prophecy is fulfilled when the Governor's best friend murders him in the final scene. Beau Soir •..•••••••••• Claude Debussy lV 1862-1918 Beautiful Evening When, in the setting sun, the streams are rosy, And when a warm breeze floats over the fields of grain, A counsel to be happy seems to emanate from all things And rise toward the troubled heart; An advice to enjoy the pleasure of being alive, While one is young and the evening is beautiful, For we shall go as this wave goes-- It, to the sea; we, to the grave. vi Extase . Henri Duparc 1848-1933 Ecstasy My heart sleeps upon a pale lily In a sleep as gentle as death . Death exquisite, death perfumed From the breath of my loved one My heart sleeps on your pale bosom In a sleep as gentle as death Apres un Reve •• • . Gerald Finzi 1901-1956 After a Dream In a sleep charmed by your image, I dreamed of happiness ••• glowing mirage; Your eyes were gentler, your voice clear and strong, You shone like a sky lighted by dawn, You called me, and I left the earth To flee with you towards the light; The heavens opened for us their clouds, Splendours unknown, divine brilliance glimpsed. Alas! sad awakening from dreams, I call you, oh night, give me back your lies, Return in radiance, return oh mysterious night! I Said to Love Gerald Finzi V 1901-1956 In addition to the song volumes published already during his lifetime, Finzi had planned several more. During his last year he wrote many songs, but at the time of his death none of the sets were completed. Editors have arranged these six songs with texts by Thomas Hardy into the cycle "I Said to Love." Some of the texts present the character as male, yet the universal nature of love makes the songs appropriate for women. vii LIST OF FIGURES Figure Page 1. Measures 1-4 of "I Need Not Go" . 23 2. Measures 5-8 of "I Need Not Go" . 23 3. Measures 10-12 of "I Need Not Go" . 24 4. Measures 16-18 of "I Need Not Go" . 25 5. Measures 22-25 of "I Need Not Go" . 25 6. Measures 29-31 of "I Need Not Go" . 26 ' 7. Measures 32-35 of "I Need Not Go" 27 8. Measures 1-3 of "At Middle - Field Gate in February" 29 9. Measures 5-6 of "At Middle - Field Gate in February" 30 10. Measures 7-9 of "At Middle - Field Gate in February" 31 11. Measures 18-22 of "At Middle - ]field Gate in February" 31 12. Measures 22-24 of "At Middle - Field Gate in February" 32 13. Measures 26-28 of "At Middle - Field Gate in February" 32 14. Measures 1-3 of "Two Lips" 35 15. Measures 12-14 of "Two Lips" 36 16. Measures 21-24 of "Two Lips" 36 17. Measures 5-7 of "In five-score Summers" 39 18. Measures 10-12 of "In five-score Summers" . 39 19. Measures 22-25 of "In five-score Summers" 40 20. Measures 1-3 of "For Life I had never cared greatly" 43 21. Measures 1-4 of "I Said to Love" 45 22. Measures 28-30 of "I Said to Love" 45 23. Measures 39-43 of "I Said to Love" 46 24. Measures 44-48 of "I Said to Love" 47 viii Figure Page 25. Measures 48-49 of "I Said to Love" 47 26. Measures 66-70 of "I Said to Love" 48 INTRODUCTION Preparation for the graduate recital provides the Master's candidate an opportunity to exercise a variety of musical skills. Choosing the best possible program requires not only a working knowledge of the available repertory, but a personal assessment of the particular voice with its characteristic strengths and weaknesses. The final selection must reflect a fine balance of material difficult enough to provide a musical challenge and material with which a singer can feel comfortable in coIIDllunicating.
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